Kamasi Washington is a jazz saxophonist that joins the vanguard of musicians bridging jazz with contemporary music from the many genres in its orbit. Listening to his album, The Epic, I wonder if Washington is this generation’s Herbie Hancock – someone who pushes the boundaries of jazz but does so from a place of legitimacy.

You might say the same of Robert Glasper and jazz innovators before him like Guru and Ronny Jordan. But there is something different about Washington’s brand of innovation. Perhaps it is his pedigree, having played with legends like Wayne Shorter, Herbie Hancock, Harvey Mason, Kenny Burrell, and George Duke.

The Epic is an incredibly immersive listening experience. I would liken it to a concept album by a band like Pink Floyd or an opus like Miles Davis’Bitches Brew. It’s not the ethereality or electronic treatment that inspires this comparison. Rather, it is the ambition, the grandioseness of this album. It is truly the epic jazz album of the year, if not this decade.

The Epic’s ambience is established through a combination of Washington’s improvisation, a steady and pervasive baseline from Miles Mosley’s acoustic bass, and 20-person choir that evokes a blend of 60’s spiritual jazz and sci-fi cinematic scores. This sound emerges as Washington’s signature while being subdued enough to support, not displace, the profound range and depth of performances and compositions on the album.

With nearly 3 hours of music, the musicians are well showcased. I can’t recall the last time I heard so many generous and wonderful trombone solos, as played by Ryan Porter on tracks like “Leroy and Lanisha” and “Re-Run Home.” Igmar Thomas’ trumpet is another capable foil to Washington’s tenor sax. Stephen Bruner (a.k.a. Thundercat) brings his unique electric bass sound to “Askim,” interplaying fantastically with the majestic choir conducted by Miguel Atwood-Ferguson. Atwood-Ferguson, incidentally, worked on another recent spiritual jazz revival of sorts, my personal pick for 2014 album of the year, Church, by Mark de Clive Lowe.

Washington himself is a remarkable talent on the saxophone. His range is broad, from hard blowing dissonance reminiscent of Pharoah Sanders to the easy swing of a popular saxophonist like Grover Washington Jr. Kamasi Washington is comfortable and capable at both extremes and this album sees him traverse the expanse.

The Epic’s more conventional arrangements include “Cherokee,” a lovely tune sung by Patrice Quinn in the best tradition of lounge jazz and a version of Debussy’s “Clair de Lune,” arranged in 3/4 time while maintaining the composition’s lilting beauty.

To me, this album’s appeal is peculiar because I find it simultaneously exhilarating and comforting. I’m excited by its newness – but also comforted that we have a new and credible steward to lead jazz forward. With The Epic, Kamasi Washington sets forth.

Listening to Jean-Paul ‘Bluey’ Maunick’s sophomore solo album reveals new depths in a seemingly endless well of musical genius. Like his solo debut, Leap of Faith (Shanachie, 2013), Life Between the Notes features Bluey’s greatest strength, his songwriting, but also illuminates new corners of his talent.

The thoroughly enjoyable title track and others like “Been there Before” and “Trippin’ on this Feelin'” are filled with groove and melody we have come to expect from this master songwriter with remarkable pedigree in jazz, funk, soul, and R&B.

What’s even more exciting than a new crop of songs from Bluey is his entree into jazz vocals that reveal the crooner within. “Sunships on the Shores of Mars” and “Columbus Avenue” have a coolness and ease with jazz vocals that we have come to expect from the likes of Gregory Porter. Bluey joins the club. One can’t help but wonder if Bluey took notes from previous collaborator and jazz vocal legend Al Jarreau himself. Jarreau and Maunick worked together on Mario Biondi’s album, Sun (Columbia, 2013) and hints of Jarreau’s style can be heard on these two tracks.

As with Bluey’s Incognito albums and Leap of Faith, Life Between the Notes is consistent and brings something new on each listen. It’s a fitting addition to an already legendary oeuvre.